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  • Jeremy Deller gaat voor Engeland naar Venetië

    Bats could well figure, or boy scouts, or striking miners, bicycles and mugs of strong tea, and it would be surprising if a brass band didn’t find its way in somehow. Jeremy Deller, described by one commentator as a “pied piper of popular culture”, has been selected to fill one of the arts world’s most prestigious shop windows, the British pavilion at next year’s Venice Biennale.

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  • Collageromans

    Last month, the UK-based novelist Graham Rawle gave a lecture at Antenna Media Centre in Nottingham called “Writing with Scissors.” Writing with scissors — a synonymous phrase for textual collage — would seem to aptly describe the compositional process of Woman’s World, Rawle’s handsomely designed and cleverly concocted novel that was first published in Britain in 2005. In order to construct the 437-paged book (an arduous feat that took five years), Rawle pieced together approximately 40,000 snippets of text from women’s magazines dating from the early 1960s; he used publications such as Woman, Woman’s Own, House Beautiful, and Woman’s Illustrated, drawing on the very particular language of “romantic short stories” as well as advertisements for clothing and assorted domestic products.

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  • 'February House' in Brooklyn als musical

    “NO opera plot can be sensible,” W. H. Auden wrote, “for people do not sing when they are feeling sensible.” More than any major poet of his era, Auden, who died in 1973, dabbled in serious forms of musical drama. Opera’s wildness and implausibility took him places where poems, or intellect alone, couldn’t go. He longed, on occasion, to break into song.
    The 33-year-old Auden is among the central figures in a word-drunk new musical, “February House,” that shuttles organically between literary sense and harmonic sensibility. Auden, I suspect, would have admired “February House,” which begins previews Tuesday at the Public Theater, and not just because this snippet of his poem “Refugee Blues,” sung by its young cast, seems to set the play’s emotional tone.

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